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Esdaile, Katharine

November 8, 2023March 29, 2024

Full Name: Esdaile, Katharine Ada

Other Names:

Katharine Ada Esdaile

Gender: female

Date Born: 1881

Date Died: 1950

Place Born: London, Greater London, England, UK

Place Died: East Grinstead, West Sussex, England, UK

Home Country/ies: United Kingdom

Career(s): educators

Overview

Katharine Esdaile was born to Andrew McDowall, secretary to the Girl’s Public Day School Trust, and his wife, Ada Benson, the first Headmistress of Norwich, Oxford and Bedford High Schools. She went to Notting Hill High School and Lady Margaret Hall, Oxford. At Oxford, she focused her interest on classics, fascinated by the study of antique sculpture. From 1904 onwards, Esdaile published articles in the Journal of Hellenic Studies and Numismatic Chronicle, primarily on Greek and Roman coins and on classical portrait sculpture. Her first article was published in the Journal of Hellenic Studies, titled “The So-Called Sardanapolus” in 1911. A year later, she completed her work Walpole and Chatham (1714-1760), later published by G. Bell & Sons. While studying at the British School in Rome in 1907, she married Arundell James Kennedy Esdaile, the secretary of the British Museum from 1926 to 1940. Together, they had two sons and one daughter: James, Emmeline, and Martin. James Esdaile, later known as Edmund Esdaile, continued his mother’s work, researching English sculpture after her death in 1950. After the birth of her children, in 1919, she began studying post-medieval sculpture rather than her previous emphasis on Greco-Roman antiquity, focusing primarily on churches and the notebooks of George Vertue in the British Museum. Between 1930 and 1934, the Walpole Society published her work titled Notebooks, on George Vertue. Her emphasis within the art world was often on sculptors and artists with little name but great importance, clearly revealed in her later work on Louis François Roubiliac. In 1927, she published her work: English Monumental Sculpture since the Renaissance, although she is most commonly known for her 1928 work titled The Life and Works of Louis François Roubiliac. Other names she attempted to dignify and promote were Edward Stanton, William Stanton of Holborn, Epiphanius Evesham, and Sir Robert Taylor. Also, in 1928, Esdaile received the Royal Society of Arts Medal for her work on Roubiliac. In 1933, Esdaile published her work titled Temple Church Monuments. And for years, Esdaile worked as a writer for the Times and Burlington Magazine, publishing a large quantity of articles on often seventeenth century artists, like Rysbrack. During WWII, Esdaile urged for the safeguarding of church treasures in countries under attack. She became the first and only woman on a committee working to preserve stained glass, sculptures, and other important church items during air raids. In 1946, she continued her studies in post-medieval sculpture, publishing English Church Monuments 1510 – 1840. She intended to publish a comprehensive dictionary of british sculptors, a task later completed by Rupert Gunnis in 1953 (Dictionary of British Sculptors). After writing nearly 300 articles, many books, and keeping extensive notes throughout her lifetime, Katharine Esdaile died in 1950 in Queen Victoria Hospital, Grinstead, Sussex. Her son sold her notebooks and correspondence to the Henry H. Huntington Art Collection in San Marino, California.

Selected Bibliography

Esdaile, Katharine A. “A Life Of Roubiliac.” Times, January 11, 1924, 11. The Times Digital Archive (accessed April 16, 2019). http://tinyurl.galegroup.com/tinyurl/9nYp79.
Esdaile, Katherine A. “Rysbrack’s Works.” Times, 16 Aug. 1921, p. 11. The Times Digital Archive, http://tinyurl.galegroup.com/tinyurl/9nYqB4. Accessed 16 Apr. 2019.
Esdaile, Katherine, A. “Monuments In Churches.” Times, 7 May 1930, p. 17. The Times Digital Archive, http://tinyurl.galegroup.com/tinyurl/9nYrC5. Accessed 16 Apr. 2019.
Esdaile, Katharine Ada. English Monumental Sculpture since the Renaissance. Hyperion Press, 1927.
Esdaile, Katharine A. The Life and Works of Louis François Roubiliac. Humphrey Milford Press, 1928.
Esdaile, Katharine Ada. Temple Church Monuments, Barber. 1933.
Esdaile, Katharine Ada. English Church Monuments, 1510 to 1840. Oxford University Press, 1946.

Sources

Hartley, Cathy. “Esdaile, Katherine (Ada) (1881 – 1950).” A Historical Dictionary of British Women, Europa Publications, 2003, pp. 158.
Baker, Malcolm. “Esdaile [Née McDowall], Katharine Ada (1881–1950), Art Historian | Oxford Dictionary of National Biography.” Oxford Dictionary of National Biography, Oxford Dictionary of National Biography, 9 Nov. 2017, www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-33026.
H. H-N. “Katharine Ada Esdaile.” The Burlington Magazine 92, no. 572 (1950): 329. http://www.jstor.org/stable/870512.
“Katharine Esdaile Papers: Finding Aid.” Online Archive of California, www.oac.cdlib.org/findaid/ark:/13030/c8x63sn4/entire_text/.

Contributors: Kerry Rork

Estlander, Carl Gustaf

November 8, 2023April 11, 2024

Full Name: Estlander, Carl Gustaf

Other Names:

Carl Gustaf Estlander

Gender: male

Date Born: 1834

Date Died: 1910

Home Country/ies: Finland

Subject Area(s): aesthetics

Overview

Professor of esthetics at the University of Helsinki; first to teach art history courses in Finland. Estlander taught a course in the history of painting at Helsinki in 1862-1863 academic year. For the 1866-1867 another course on art history in general, and in the 1871-1872 one on the Italian Renaissance. Follow that his art courses focused on historic art theory. His art lectures were based on the texts of the seminal German writers on art Wilhelm Lübke, Franz Kugler and Karl Julius Ferdinand Schnaase. Estlander had travelled to Italy and made personal notes on artwork, from which he drew his remarks on the Renaissance. He published a book on art history, De bildande konsternas historia från slutet av aderetonde arhundradet till våra dagar in 1867. This book was the influence to the writing and teaching of the first fully-appointed chair of art history in Finland, J. J. Tikkanen. A subsequent edition appeared in 1925, with commentary by Tancred Borenius. Estlander was one of the self-taught art historians, precursor to the first professional generation of art historian in Finland. His only work to appear in a major European language was in a Sicilian journal.

Selected Bibliography

De bildande konsternas historia från slutet av aderetonde arhundradet till våra dagar. Stockholm: L. J. Hiertas, 1867; [collected works] Skrifter. 3 vols. Helsingfors: Tidnings- och Tryckeri-Aktiebolagets, 1914-1925.

Sources

Ringbom, Sixten. Art History in Finland before 1920. Helsinki: 1986, pp. 51-56, 62; Vakkari, Johanna. “J. J. Tikkanen and the Teaching of Art History.” in, Suominen-Kokkonen, Renja, ed. The Shaping of Art History in Finland. Helsinki: Taidehistorian Seura, 2007, pp. 69-70 and notes 9-11, p.79.

Ettinghausen, Richard

November 8, 2023April 11, 2024

Full Name: Ettinghausen, Richard

Gender: male

Date Born: 1906

Date Died: 1979

Place Born: Frankfurt am Main, Hesse, Germany

Place Died: Princeton, Mercer, NJ, USA

Home Country/ies: Germany

Subject Area(s): Islam and Islamic (culture or style)

Overview

Historian of Islamic art. Ettinghausen received his Ph.D. from the University of Frankfurt in 1931 in Islamic history and art history. While pursuing his studies he worked, beginning at 24, on the excellent Islamic collection of the State Museum (Kaiser-Friedrich Museum) in Berlin between 1929 and 1931, under the direction of Ernst Kühnel and the collector/archaeologist Friedrich Sarre. In 1934 at the assumption of power by the Nazis, he emigrated first to Britain and then to the United States where he joined the staff of Arthur Upham Pope at the Institute of Persian Art and Archaeology in New York. His research, which had previously focused on Egypt and Syria, increased to the Islamic art of Iran. During the 1937-38 academic year, he taught his first class at the Institute of Fine Art, New York University. The following fall he was appointed an associate professor at the University of Michigan. In 1944 Ettinghausen left Michigan to join the Freer Gallery, Department of Near Eastern Art, part of the Smithsonian Institution. The following year he married the art historian Elisabeth Sgalitzer. He also lectured at Princeton University. His 1941 lecture, “The Character of Islamic Art,” presented at the third summer seminar in Arabic and Islamic studies at Princeton University, was published in the collection The Arab Heritage. It defined succinctly the character and qualities of the genre. Nikolaus Bernard Leon Pevsner, editor of the Pelican History of Art, contacted Ettinghausen to write a single-volume history of all of Islamic art. In 1959, Ettinghausen secured Oleg Grabar to write on the architecture and he on the independent arts. Partially due to its scope and partially because of the commitments of the two men, the project developed slowly. In 1961 he was appointed chief curator of the Freer. During his tenure at the Freer, he built the collection into one of the finest collections on Islamic art in the world. In 1966 Ettinghausen left the Freer to become Hagop Kevorkian Professor of Islamic Art at the Institute of Fine Art, New York University. Together with the Middle East historian R. Bayly Winder he founded the Kevorkian Center the same year at NYU. Three years later he added the duties of Consultative Chairman of the Islamic Department of the Metropolitan Museum of Art. At the Metropolitan, he was instrumental in installing the galleries to their sensitive arrangement. Ettinghausen died of cancer. Grabar completed the remaining portions of Ettinghausen’s manuscript for the Pelican book, which appeared only in 1987 as The Art and Architecture of Islam 650-1250, the first of two volumes envisioned. The library in the Kevorkian Center is named in Ettinghausen’s memory. Ettinghausen published the groundbreaking early books in English on Islamic art. His major interest was in Islamic painting. His 1962 Arab Painting was translated into five languages by Skira publishers. Ettinghausen combined a knowledge of classical Greek and Roman authors to the Islamic sources made him aptly able to identify iconography, his major methodology. His 1950 book The Unicorn: Studies in Muslim Iconography, is a monumental source of iconographical information for scholars not only of Islamic studies but also for medieval western art. Both a Jew and an avid Islamicist, his ties to Israel found expression in his promotion of the establishment of a museum for Islamic art in Jerusalem.

Selected Bibliography

[complete bibliography:] “Bibliography of the Writings of Richard Ettinghausen.” in Chelkowski, Peter J., ed. Studies in Art and Literature of the Near East in Honor of Richard Ettinghausen. Salt Lake City: Middle East Center, University of Utah/New York: New York University Press, 1974, pp. 5-25; “The Bobrinski Kettle: Patron and Style of an Islamic Bronze.” Gazette des Beaux Arts 24, 6th series (1943): 193-208; “The Character of Islamic Art.” in, The Arab Heritage. Faris, Nabih Amin, ed . Princeton, NJ: Princeton University Press, 1944; “Notes on the Lusterware of Spain.” Ars Orientalis I (1954): 145-8; “Interaction and Integration in Islamic Art.” in, Unity and Variety in Muslim Civilization. Grunebaum, Gustave E., ed. Chicago: University of Chicago Press, 1955; edited, Aus der Welt der islamischen Kunst: Festschrift für Ernst Kühnel zum 75. Geburtstag am 26. 10. 1957. Berlin: Gebr. Mann, 1959; Arab Painting. Geneva: Skira, 1962; From Byzantium to Sasanian Iran and the Islamic world; three modes of artistic influence. Leiden, Brill, 1972; and Evans, Bruce H. and Ackerman, Gerald M. Jean-Léon Gérôme (1824-1904). Dayton, OH: Dayton Art Institute, 1972; Islamic Art in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1972; “The Impact of Muslim Decorative Arts and Painting on the Arts of Europe.” in, The Legacy of Islam. Schacht, Joseph, and Bosworth, C. E., eds. Oxford: Oxford University Press, 1974, pp. 290-320; and MacDougall, Elisabeth B., eds. The Islamic Garden. Fourth Dumbarton Oaks Colloquium on the History of Landscape Architecture, 1974. Washington, DC: Dumbarton Oaks/Harvard University, 1976; and Yarshater, Ehsan. Highlights of Persian Art. Boulder, CO: Westview Press 1979; Islamic Art and Archaeology: Collected Papers. Berlin: Gebr. Mann,1984; and Grabar, Oleg. The Art and Architecture of Islam 650-1250. Pelican History of Art 51. Harmondsworth: Penguin, 1987.

Sources

Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 89; Porada, Edith. “Richard Ettinghausen.” Yearbook of the American Philosophical Society 1979 pp.58-61; Blair, Sheila S. “Preface.” The Art and Architecture of Islam: 1250-1800. New Haven, CT: Yale University Press, 1994, p. vii; [obituaries] Cook, Joan. “Richard Ettinghausen, Teacher, A Leading Islamic Art Authority, Planned Turkish Exhibition, Taught at Princeton.” New York Times April 3, 1979, p. C18

Ettlinger, Leopold D.

November 8, 2023March 29, 2024

Full Name: Ettlinger, Leopold D.

Other Names:

Leopold David Ettlinger

Gender: male

Date Born: 1913

Date Died: 1989

Place Born: Kaliningrad, Kaliningrad Oblast, Russia

Place Died: Berkeley, Alameda, CA, USA

Home Country/ies: Germany

Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance

Career(s): educators

Overview

Warburg Institute historian of the Italian renaissance and Berkeley Art Department Chair, 1970-80. He was bornin in Königsberg, Germany, present day Kaliningrad, Russia. Ettlinger was born to Emil Ettlinger and Dora Beer (Ettlinger), his father the university librarian in Königsberg. After receiving his Abitur from the Gynmasium in Halle in 1932, he studied at the universities of Halle and Marburg. His fields of concentration included archaeology, philosophy and art history (under Paul Frankl). He received his Ph.D. in Halle under Herbert Koch in 1937, writing on the topic of Gottfried Semper and the ancient world. Between 1935-37 he assisted Koch cataloging the the collection of Crete and Mycenean objects, photodocumenting them for the archaeological museum in Halle. Because of his Jewish background Ettlinger was forced to leave Germany for England in 1938, working at the Warburg Institute and living with Fritz Saxl. He married Amrei Jacoby in 1939 (d. 1955). Nikolaus Bernard Leon Pevsner secured him a job working as a social worker in children’s refugee camps (Movement for the Care of Children from Germany), 1940-1941. He was interned briefly in 1940 on the Isle of Man, together with other Warburg refugees. After his release he was made a member of the Warburg Institute. Ettlinger published his first English-language essays in the Journal of the Warburg and Courtauld Institutes. He supported himself during the years 1941-1948 as an assistant master of Edward VI’s school in Birmingham for six years and writing a volume for Allen Lane’s King Penguin book series in 1947 on Christmas cards. In 1948, Saxl appointed Ettlinger curator of the photographic collection of the Warburg, now part of the University of London, shortly before Saxl’s sudden death. Ettlinger also lectured at the University of Reading. After 1956 he was a lecturer at the Warburg (to 1964). At the suggestion of Erwin Panofsky, Ettlinger spent part of the1956 year at the Institute for Advanced Study in Princeton, studying the Sixtus’ early painting patronage. The result would be his well-received 1965 book, The Sistine Chapel before Michelangelo: Religious Imagery and Papal Primacy. In 1959 he married Madeleine Jay Noirot and replaced E. H. Gombrich as the Durning Lawrence Professor of the History of Art at the Slade School, University College. His 1961 inaugural lecture was on the current status of art history (“Art History Today”). He lectured for the academic year 1963-1964 at Yale University. While chair of the department (1966-70) he helped created joint degree programs in the art history department. In 1970 Ettlinger accepted the chairmanship of the Department of the History of Art at the University of California at Berkeley. There he had many students and earned a reputation as an outstanding lecturer: persuasive arguments, perfect delivery and moving elocution. Ettlinger married a third time to Helen Shahrokh Lewis (later divorced), with whom he wrote a monograph on Botticelli in 1976. At Berkeley he issued his catalogue raisonné of the Pollaiuolo, Antonio and Piero Pollaiuolo: Complete Edition with a Critical Catalogue. He remained on the Berkeley faculty until 1980. On Easter, 1979 he was received into the Roman Catholic faith, surprising to some, but to others the culmination of his engagement with Christianity through his work on the Sistine Chapel. In 1983 he headed a panel discussing the Vienna School of art history at the 25th International Congress of the History of Art, later published as Wien und die Entwicklung der kunsthistorischen Methode.

Selected Bibliography

[dissertation] Gottfired Semper und die Antike; Beiträge zur Kunstanschauung des deutschen Klassizismus. Halle, 1937; and Holloway, R. G. Compliments of the Season. London: Penguin Books, 1947; Kandinsky’s “At Rest”. Charlton lecture 1960; London: Oxford University Press, 1961; Art History Today. [inaugural address for University College] London: H. K. Lewis, 1961; “On Science, Industry and Art: Some Theories of Gottfried Semper.” Architectural Review 86 (July 1964): 57-60; The Sistine Chapel Before Michelangelo: Religious Imagery and Papal Primacy.Oxford: Clarendon Press, 1965; and Ettlinger, Helen S. Botticelli. London: Thames and Hudson, 1976; Antonio and Piero Pollaiuolo: Complete Edition with a Critical Catalogue. Oxford: Phaidon, 1978; Wien und die Entwicklung der kunsthistorischen Methode. Akten des XXV. Internationalen Kongresses für Kunstgeschichte 1. 3 vols. Vienna: Böhlau, 1984.

Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, pp. 20 n. 36, 25 n. 49; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 78-80; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 139-42; [obituaries] Trapp, Joseph B. “Leopold D. Ettlinger.” The Burlington Magazine 131 (December 1989): 851-2; The Times [London], July 22 1989; Svetlana Alpers, Michael Baxandall, Jacques de Caso. University of California In Memoriam 1992. “Leopold David Ettlinger, History of Art: Berkeley.” http://dynaweb.oac.cdlib.org:8088/dynaweb/uchist/public/inmemoriam/inmemoriam1992/@Generic__BookTextView/867

Evans, Arthur J., Sir

November 8, 2023April 11, 2024

Full Name: Evans, Arthur J., Sir

Other Names:

Sir Arthur John Evans

Gender: male

Date Born: 1851

Date Died: 1941

Place Born: Nash Mills, Hemel Hempstead, England, UK

Place Died: Oxford, Oxfordshire, England, UK

Home Country/ies: United Kingdom

Subject Area(s): Aegean Bronze Age periods, ancient, Ancient Greek (culture or style), archaeology, Cretan, Minoan, and museums (institutions)

Career(s): directors (administrators) and museum directors

Overview

Archaeologist, Ashmolean Museum Director; discoverer of Minoan Crete civilization and publisher of Minoan (Knossos) finds. Evans’ father, Sir John Evans (1823-1908), ran a paper mill and was distinguished archaeologist and numismatist. His mother was Harriet Ann Dickinson (Evans). Evans attended Harrow School and Brasenose College, Oxford, where he graduated with first class honors in modern history in 1874. He studied a year at Göttingen, traveling to Bosnia (1871), Herzegovina, Finland, and Scandinavia (1873-4). Evans became a reporter for the Manchester Guardian in 1877, covering the Balkans. In 1878 he married Margaret Freeman (d. 1893), daughter of the historian Edward Augustus Freeman (1823-1892). In 1882 he was arrested by the Austrian authorities for complicity, but released after six weeks of imprisonment. Like many, he was fascinated by the exploits of Heinrich Schliemann at Troy, Mycenae, and Tiryns as reported in Das homerische Epos (1884) by Wolfgang Helbig and Die Anfänge der Kunst in Griechenland (1883) by Arthur Milchhöfer. In 1884 Evans was appointed keeper of the Ashmolean Museum at Oxford. The museum was in a poor state, its building dilapidated and its collecting policies duplicated by those of the Randolph Gallery under Sir W. M. Ramsay (1806-1865), the first Lincoln and Merton chair of classical archaeology and art. His first archaeological studies were published in Archaeologia in 1884 and 1885. During this time he was founding member of the British School at Athens (1886). Evans set out to make the Ashmolean a major museum. He secured the private collection of classical and medieval art of Charles Drury Fortnum. A chance gift to the Ashmolean in 1889 of a seal-stone led Evans to a greater study of them. He acquired other examples in Athens in 1893, postulating the picture-writing theory of the Cretan islands later known as “Linear A” and “Linear B”. That same year he and Percy Gardner issued a catalog on the Greek vases in the Ashmolean. He traveled in Crete in 1894, collecting other seal-stones. Between 1894 and 1897 Evans published additional theories and discoveries of Crete in the Journal of Hellenic Studies. Evans presided over the move of the Ashmolean collections to a renovated building in 1894. When the Turks evacuated Crete in 1899, Evans used the some of the fortune he had inherited to excavate an 1894 property he had bought in Crete with the British School of Archaeology at Athens. The dig was directed by Evans and the School’s director, David G. Hogarth (1862-1927), Duncan MacKenzie and John Pendlebury. Almost immediately, an elaborate Bronze Age palace with numerous clay tablets were revealed. “Kamárais” pottery (c. 2000 BC) and brilliant frescoes from a palace were exposed. The excavation continued for eight subsequent seasons. Evans exhibited the finds initially in London in 1903 and more extensively in 1936. He resigned from the Ashmolean in 1908 when the museum’s collection was merged with the Randolph Gallery into a single building at Oxford. Evans devoted his time to writing Scripta Minoa, the published account of his analysis of the Cretan language, appearing beginning in 1909 (the second in 1952). The four-volume Palace of Minos at Knossos was launched beginning in 1921 (final volume 1935). Evans named the culture “Minoan”, after the legendary King Minos of Crete. He theorized a nine classifications of the civilization including ‘early’, ‘middle’, and ‘late’, each divided into subcategories, which he published in 1905, 1906, and 1912. Evans’s villa in Crete overlooking the site which had served as a center for scholars and visitors, was transferred to the British School of Archaeology at Athens in 1926. He returned to excavate the ‘royal tomb’ in 1931. Though World War II brought many ravages, the German invasion of Crete in 1941 damaged neither the palace or the museum. After the war, Evans, a trustee of the British Museum, moved to reinstate the museum (from the wartime Air Board), rejuvenating the museum at a critical juncture. He worked at the Ashmolean until his death at his estate, Youlbury, in 1941. His biography was published in 1943 by his half-sister, Joan Evans, as Time and Chance: the Story of Arthur Evans. Though Evans discoveries were spectacular, he overrated the dominance of Crete in early Aegean history, concomitantly appreciating the role of the Greek mainland and the Cyclades. He could not believe that Minoan culture had not been the dominant one for most of the 1600-1400 B.C. era. Subsequent scholarship has proven this not to be the case.

Selected Bibliography

and Gardner, Percy. Catalogue of the Greek Vases in the Ashmolean Museum. Oxford: Clarendon Press, 1893; British Archaeological Discoveries in Greece and Crete, 1886-1936: Catalogue of the Exhibition Arranged to Commemorate the Fiftieth Anniversary of the British School of Archaeology at Athens. London: W. Clowes & Sons, Ltd., 1936; Antiquarian Researches in Illyricum. Parts I-IV. [collected articles from Archaeologia, vols. 48-49] Westminster: Nichols & Sons, 1883-1885; Cretan Pictographs and Prae-Phoenician Script: with an Account of a Sepulchral Deposit at Hagios Onuphrios near Phaestos in its Relation to Primitive Cretan and Aegean Culture. London: B. Quaritch/New York: G. P. Putnam’s, 1895; and Evans. Joan. The Palace of Minos: a Comparative Account of the Successive Stages of the early Cretan Civilization as Illustrated by the Discoveries at Knossos. London: Macmillan and Co., 1921; The Prehistoric Tombs of Knossos: the Cemetery of Zafer Papoura: the Royal Tomb of Isopata. London: B. Quaritch, 1906.

Sources

Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 103-106; Myres, John L., and rev. Snodgrass, A. M. Dictionary of National Biography; Evans, Joan. Time and Chance: the Story of Arthur Evans and his Forebears. New York: Longmans, Green, 1943; MacGillivray, Joseph Alexander. Minotaur: Sir Arthur Evans and the Archaeology of the Minoan Myth. New York: Hill and Wang, 2000; Horwitz, Sylvia L. The Find of a Lifetime: Sir Arthur Evans and the Discovery of Knossos. New York: Viking Press, 1981.

Enlart, Camille

November 8, 2023April 11, 2024

Full Name: Enlart, Camille

Other Names:

Desiré Louis Camille Enlart

Gender: male

Date Born: 1862

Date Died: 1927

Place Born: Boulogne-sur-Mer, Pas-de-Calais departement, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Subject Area(s): architecture (object genre), French (culture or style), Gothic (Medieval), Italian (culture or style), and sculpture (visual works)

Overview

Historian of French and Italian Gothic architecture; director of the Musée de Sculpture comparée 1903-1927. Enlart came from an established Picard family. He attended school in Paris, first at the école des Beaux-Arts where he studied drawing and in 1885 the école des Chartes, studying under Robert Charles de Lasteyrie du Saillant. His dissertation was on the Romanesque churches of Picardy. Enlart traveled to Italy in 1889 for two years studying the French influence in Italian Gothic architecture. He returned to France to become assistant librarian at his alma mater, the école des Beaux-Arts. He met the young art historian Wilhelm Vöge in 1893. In 1894 he issued two volumes of his sweeping survey on the gothic origins of Italian art, Origines françaises de l’architecture gothique en Italie and Les Origines françaises de l’art gothique en Italie. In 1896 he visited Cyprus under the auspices of the Ministère de l’Instruction Publique et des Beaux-Arts, where he was delighted to find “pure” Gothic architecture, untouched by the restorers’ efforts in France had changed the character of many medieval buildings. There Enlart measured the structures from the Crusades. Though previous work had been done by his compatriots the Charles-Jean-Melchior Vogüé and Baron Emmanuel Guillaume Rey (b.1837) in 1860, as well as by Britishers Edward I’Anson (1811-1888) and Sidney Vacher (1854-1934) in 1882-1883, Enlart was the first person to identify and systematically document the buildings. His resulting book on the architecture of Cyprus, L’Architecture gothique et de la Renaissance en Chypre, was published in 1899. Beginning in 1902, Enlart issued his Manuel d’archéologie française a survey of medieval arts from architecture to costume running to four volumes through 1916. In 1903, he was made curator of the Trocadéro Musée de Sculpture comparée (museum of comparative sculpture), a museum of plaster casts of French monuments. He wrote his opinion in the Bulletin monumental in 1906 that the flamboyant style (late Gothic) style had originated in England. This view caused great controversy in France and bitterness among some former friends, but is today Enlart’s observation is largely accepted. He issued a catalog of the collection in 1910 and achieved the Chevalier de la Légion d’Honneur. An article on the pedagogy medieval artifactual archaeology appeared in 1911. He became a member of the Académie des Inscriptions et Belles-Lettres in 1925. At the end of his life, he donated his collection of medieval objects from Picardy to the Boulogne museum. A book on Gothic furniture remained uncompleted at Enlart’s death and was posthumously finished by Jean Verrier. He was a member of the école Française in Rome. Enlart advanced the argument that the Gothic style in Europe emanated from France, particularly through the Cistercian order. His principle areas of research were medieval architecture in the eastern Mediterranean and Italy. His belief that the Gothic style belonged so closely to France led him to propose renaming Gothic architecture “French architecture” or “ogival”. Throughout his career, he was a frequent contributor to the Bulletin monumental.

Selected Bibliography

[complete bibliography:] Dufay, P. “Essai d’une bibliographie sommaire des travaux de Camille Enlart.” Camille Enlart, 1862-1927. Paris: J. Naert, 1929; Origines françaises de l’architecture gothique en Italie. Paris: Thorin, 1894; Les Origines françaises de l’art gothique en Italie. Paris: Thorin, 1894; Les Monuments de l’architecture romane et de transition dans la région picarde: Anciens diocèses d’Amiens et de Boulogne. Amiens: Yvert et Tellier, 1895; L’Architecture gothique et de la Renaissance en Chypre. 2 vols. Paris: E. Leroux, 1899, English, Hunt, D., ed. Gothic Art and the Renaissance in Cyprus. London: Trigraph/A. G. Leventis Foundation, 1987; Manuel d’archéologie française depuis les temps mérovingiens jusqu’à la Renaissance. 4 vols. Paris: A. Picard, 1902-1927; L’Art roman en Italie: L’Architecture et la décoration. Paris: A. Morancé, 1924; Les monuments des croisés dans le royaume de Jérusalem: architecture religieuse et civile. Paris: P. Geuthner, 1925; Villes mortes du moyen âge. Paris: E. de Boccard, 1920; Catalogue général du Musée de sculpture comparée au Palais du Trocadéro. Paris: A. Picard & Fils, 1910; “Origine anglaise du style gothique flamboyant.” Bulletin monumental 70 (1906): 38-81 and 74 (1910): 125-67; and Enlart, Desiré Louis Camille. “The Teaching of Mediaeval Archaeology.” American Historical Association. Annual Report [for 1909] (1911): 103-114.

Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 434; Camille Enlart, 1862-1927. Paris: J. Naert, 1929; Coldstream, Nicola. “Introduction: Camille Enlart and the Gothic Architecture of Cyprus.” in, Enlart, Camille. Gothic Art and the Renaissance in Cyprus. London: Trigraph/A. G. Leventis Foundation, 1987, pp. 1-10.

Enggass, Robert

November 8, 2023March 29, 2024

Full Name: Enggass, Robert

Other Names:

Robert Enggass

Gender: male

Date Born: 1921

Home Country/ies: United States

Overview

Student of Harold E. Wethey at Ann Arbor. His friendship with Luigi Salerno in 1965 resulted in his translation with his wife, Catherine, in several of Salerno’s books into English.

Sources

Julier, Insley. [finding aid for] Luigi Salerno research papers, 1948-1996. Getty Research Center. http://hdl.handle.net/10020/cifa2000m26.

Student of Harold E. Wethey at Ann Arbor. His friendship with Luigi Salerno in 1965 resulted in his translation with his wife, Catherine, in several of Salerno’s books into English.

Engerand, Fernand

November 8, 2023April 11, 2024

Full Name: Engerand, Fernand

Gender: male

Date Born: 15 April 1867

Date Died: 10 November 1938

Place Born: Caen, Normandie, France

Place Died: Passy, Île-de-France, France

Home Country/ies: France

Subject Area(s): French (culture or style)

Career(s): archivists and researchers

Institution(s): Musée social

Overview

Compiler of inventories of French royal art collections; deputy representing Calvados in French parliament (Chambre des députés) from 1902-1936; general secretary of the Musée social from 1898-1902. Engerand received his education from the lycée de Caen and the Institution Sainte-Marie, also in Caen. He was licensed in letters and law, and began his political career as a lawyer for the court of appeals in Paris. Later as deputy in the French legislature, Engerand sat on various government committees for public works and industrial projects. For four years, he served as secrétariat général of the Musée social, a research-based institution dedicated to urban social reform. Engerand was also a journalist who regularly wrote articles in newspapers and journals like Le Correspondant, L’Illustration, and L’Écho de Paris. In the mid-1890s, Engerand began writing for archival publications like the Revue de l’art français ancien et moderne (Nouvelles archives de l’art français) and the Gazette des Beaux-Arts on French art from the seventeenth thru nineteenth centuries. He was particularly dedicated to the art of his native region of Normandy, and in 1905 passed a law, the Projet de résolution relatif aux musées de province, that supported the study and inventory of local museums throughout the country.

Engerand’s most well-known contributions to art history, his inventories on the royal art collections of the seventeenth and eighteenth centuries (Inventaire des tableaux du roy: inventaires des collections de la Couronne par Nicolas Bailly (1899) and Inventaire des tableaux commandés et achetés par la Direction des Bâtiments du Roi de 1710 à 1792 (1900)), reflect the nationalism felt by the generation of Frenchmen living in memory of the Franco-Prussian war of 1870 (Weil-Curiel). After the First World War, such feelings also directed Engerand’s political career more towards foreign affairs and heavy industry (Jolly). He received multiple distinctions from the Académie française for his writings on recent French history and contemporary social issues and Franco-German relations. In 1899 he received the Marcelin Guérin prize for his book published that year, Ange Pitou, agent royaliste et chanteur des rues (1767-1846). In 1917, he received the same annually-awarded distinction for L’Allemagne et le fer: les frontières lorraines et la force allemande (1916). Lastly, in 1941, Engerand was awarded the Prix général Muteau for a book on art from his native Caen, Les Trésors d’Art religieux du Calvados, which his daughter published posthumously in 1940. A portion of his personal papers at the regional archives in Calvados were destroyed in 1944 from aerial bomblings during WWII.

Selected Bibliography

[and Jules Guiffrey]. “Modèles et Bordures de tapisseries des XVIIe et XVIIIe siècles. Documents communiqués par M. F. Engerand.” In Nouvelles archives de l’art français (Revue de l’art français ancien et moderne). Paris: J. Schemit, 1896, vol. 12 (third series), 137-148;
“Les Commandes officielles de tableaux au XVIIIe siècle. Louis David.” La Chronique des arts et de la curiosité: supplément à la Gazette des beaux-arts 2 (January 9, 1897): 12-16;
“Nattier, peintre des favorites de Louis XV.” La Revue de l’art ancien et moderne 2 (November and December 1897): 327-334; 429-436;
“Trois lettres inédites de Robert Lefèvre (1812-1815).” In Nouvelles archives de l’art français (Revue de l’art français ancien et moderne). Paris: J. Schemit, 1897, vol. 13 (third series), 89-93;
Histoire du musée de Caen. Caen: C. Valin, 1898;
“Les Portraits présumés de Mme de Parabère, de Chapelle et Racine au musée de Caen.” Bulletin de la Société des antiquaires de Normandie 18 (1898): 69-88;
Ange Pitou, agent royaliste et chanteur des rues (1767-1846). Paris: E. Leroux, 1899;
Inventaire des tableaux commandés et achetés par la Direction des Bâtiments du Roi de 1710 à 1792. Paris: E. Leroux, 1900;
L’Allemagne et le fer: les frontières lorraines et la force allemande. Paris: Perrin, 1916;
Curiosités et Amusements archéologiques: les petits chiens, manchon, masque de visage, canne, les étrennes, illuminations et feux d’artifice. Paris: Librairie Bloud & Gay, Caen: Société d’impression de Basse-Normandie, 1934;
[and Marthe Engerand.] Trésors d’art religieux du Calvados, I. Caen et l’arrondissement de Caen. Caen: Marigny & Joly, 1940;

Sources

“Fernand ENGERAND.” Académie française. Accessed July 27, 2020;
Bazin, Germain. Histoire de l’histoire de l’art de Vasari à nos jours. Paris: Albin Michel, 1986, p. 482;
Lorenz, Otto. “ENGERAND (Fernand).” In Jordell, Daniel, ed.Catalogue général de la librairie française. Paris: Nilsson per Lamm, 1908-1909, vol. 14 (1891-1899), p. 719;
Jolly, Jean. Dictionnaire des parlementaires français: notices biographiques sur les ministres, sénateurs et députés français de 1889-1940. Paris: Presses Universitaires de France, 1968, vol. 5, p. 1623;
Oursel, Noémi Noire. “ENGERAND (Fernand).” In Nouvelle biographie normande. Supplément. Paris: A. Picard, 1888, p. 152;
“ENGERAND (Fernand).” In Qui êtes-vous?: annuaire des contemporains; notices biographiques. Paris: G. Ruffy, 1924, p. 271;
Samuel, René and Géo Bonet-Maury. “Engerand (FERNAND).” In Les parlementaires français, 1900-1914: dictionnaire biographique et bibliographique des sénateurs, députés, ministres… Paris: G. Roustan, 1914, p. 156;
Weil-Curiel, Moana. “ENGERAND, Fernand.”Dictionnaire critique des historiens de l’art. Institut national d’histoire de l’art. Last updated December 2, 2008.

Engelmann, Wilhelm

November 8, 2023April 11, 2024

Full Name: Engelmann, Wilhelm

Gender: male

Date Born: unknown

Date Died: unknown

Overview

art historian; encyclopedist

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 378-379

art historian; encyclopedist

Emmens, J. A.

November 8, 2023April 11, 2024

Full Name: Emmens, J. A.

Other Names:

Jan Ameling Emmens

Gender: male

Date Born: 1924

Date Died: 1971

Place Born: Rotterdam, South Holland, Netherlands

Place Died: Utrecht, Netherlands

Home Country/ies: Netherlands

Subject Area(s): iconology

Overview

Director of the Dutch Institute for Art History in Florence; Professor of Art History and Iconology at Utrecht University. Emmens attended the Marnix Gymnasium in Rotterdam. Between 1947 and 1955, he studied art history at Utrecht University where J. G. van Gelder was among his major influences. As a student, he wrote a thesis, Apelles en Apollo, about Dutch poems on seventeenth-century paintings. He became the research assistant for William S. Heckscher, during Heckscher’s years as Professor of Iconography and Early Medieval Art in Utrecht University. In 1958, Emmens went to Italy, as the Director of the Dutch Institute of Art History in Florence. In 1961, he returned to the Utrecht institute, again as a researcher. In 1964 he obtained his doctorate with a dissertation on Rembrandt, which attracted so much scholarly attention it was published in 1968. As his adviser, van Gelder was instrumental in his appointment as Lector in Utrecht, in 1965. In the same year he also became Lector at the University of Amsterdam and met a young American student of Dutch art, later a major Rembrandt historian Gary Schwartz. Emmens was appointed Professor in de ‘algemene kunstwetenschap en ikonologie’ at Utrecht University in 1967, a position he occupied until his death. For a short time, Emmens was a member of the team of the Rembrandt Research Project, which was launched in the late 1960s. His plans for a systematic study of Rembrandt’s iconology were not realized. He died at age of 47 in 1971. At the time of Emmens’ death, he and Schwartz were collaborating on a volume on Dutch art for the Prentice-Hall series Sources and Documents in the History of Art. The volume never appeared. Peter Hecht, one of his students and later Professor of Art History at the same university, wrote a short essay on Emmens as an art historian and as a poet. Hecht notes that Emmens as a teacher paid particular attention to developing a critical attitude. Among Emmens’ students were Jochen Becker, Ella Reitma, Evert van Uitert, Carel Blotkamp, Frans Haks and Hans van Helsdingen. Emmens’ premature death prevented any but van Helsdingen to complete dissertations and to obtain doctorates under his supervision. Emmens’ own dissertation, Rembrandt en de regels van de kunst, deals with the various ways Rembrandt had been viewed throughout history and with Rembrandt’s own concepts on art and those of his early critics. Emmens attacked the romantic image of Rembrandt as an independent and rebellious genius, popularized in particular by the former Director of the Rijksmuseum, F. Schmidt-Degener. The Dutch art historian, Hessel Miedema, reviewed this book discussing shortcomings but concluding that this important study was a stimulus for further investigation in this field. In a number of shorter publications, mainly on sixteenth- and seventeenth- century painting, Emmens’ iconological research in particular focused on the relation between visual art and literature and on the emblematical meaning of representations. His original and innovative articles were highly appreciated among his colleagues. A similar scholarly approach is apparent in some iconographical works of Sturla Gudlaugsson, former Director of the Mauritshuis in The Hague. In the obituary which Emmens wrote for Gudlaugsson, shortly before Emmen’s own death, he pointed to the Gudlaugsson’s historical awareness of artistic developments and his ability to compare image and text, having been in this way a source of inspiration to younger investigators. Emmens also highly valued Erwin Panofsky, whom he called in a commemorating article “the most brilliant and influential art historian of our time”.

Selected Bibliography

“Ay Rembrant, maal Cornelis stem” Nederlands Kunsthistorisch Jaarboek 7, 1956: 133-165; and Bruyn, Josua “De zonnebloem als embleem in een schilderijlijst” Bulletin van het Rijksmuseum 4 (1956): 3-9; and Bruyn, J. “The Sunflower Again” The Burlington Magazine 99 (1957): 96-97; and J.G. van Gelder De schilderkunst van Jan Vermeer: een voordracht. Utrecht: Kunsthistorisch Instituut, 1958; “Les Ménines de Vélasquez. Miroir des Princes pour Philippe IV” Nederlands Kunsthistorisch Jaarboek 12, 1961: 51-79; “Natuur, onderwijzing en oefening. Bij een drieluik van Gerrit Dou” in Album Discipulorum , aangeboden aan Professor Dr. J.G. van Gelder, ter gelegenheid van zijn zestigste verjaardag, 27 Februari 1963. Utrecht: Dekker & Gumbert, 1963: 125-136; “H.Gerson, Seven Letters by Rembrandt” Book review. Oud Holland 78 (1963): 79-82; “Een fabel van Ariosto” Nederlands Kunsthistorisch Jaarboek 15, 1964: 93-104; and De Jongh, E. “De kunsttheorie van Cobra, 1848-1948” Simiolus 1,1 (1966-1967): 51-64; “Erwin Panofsky as a Humanist”. Translated by Gary Schwartz. Simiolus 2,3 (1967-1968): 109-113; Rembrandt en de regels van de kunst. Rembrandt and the rules of art (proefschrift Rijksuniversiteit Utrecht, 1964) Utrecht: Haentjens Dekker & Gumbert [1968] Reprint Amsterdam, 1979 (= Verzameld werk 2); “In Memoriam Dr Sturla Gudlaugsson” Simiolus 4, 3 (1971): 123; “Rudolf and Margot Wittkower, Born under Saturn” Book review. Translated by Gary Schwartz. The Art Bulletin 53 (1971): 427-428; “‘Eins aber ist nötig’ – Zu Inhalt und Bedeutung von Markt- und Kuchenstücken des 16. Jahrhunderts” Completed by Jochen Becker. in Album Amicorum J.G. van Gelder. Edited by Bruyn, J; Emmens, J.A.; De Jongh, E; Snoep, D.P. The Hague: Martinus Nijhoff, 1973: 93-101; “Apelles en Apollo: Nederlandse gedichten op schilderijen in de 17de eeuw” Kunsthistorische opstellen 1, Amsterdam, 1981: 5-60; For his complete art historical oeuvre, see Kunsthistorische opstellen. 2 vols. (= Verzameld werk 3 and 4) Amsterdam 1981, with bibliography, 2: 223-225.For his poetry, see: Gedichten en aforismen (= Verzameld werk 1) Amsterdam, 1989.

Sources

Miedema, H. “J.A. Emmens, Rembrandt en de regels van de kunst” Oud Holland 84 (1969): 249-256. Book review [personal correspondence, Gary Schwartz, December 2011]; [obituaries:] Bruyn, J. “In memoriam J.A. Emmens. August 17, 1924 – December 12, 1971” Simiolus 5, 1,2 (1971): 1-2; Reznicek, E.K.J. “J.A. Emmens” The Burlington Magazine 114 (1972): 245-246; Hecht, Peter “J.A. Emmens (1924-1971)” in Hecht, Peter; Hoogenboom, Annemieke; Stolwijk, Chris (eds.) Kunstgeschiedenis in Nederland. Negen opstellen. Amsterdam: Prometheus, 1998: 169-192.

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